MENC: The National Association for Music Education

The Effects of Four Profiles of Oboe Reeds on Intonation Author(s): Walter L. Wehner Source: Journal of Research in Music Education, Vol. 18, No. 3 (Autumn, 1970), pp. 242-247 Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education Stable URL: http://www.jstor.org/stable/3344463 . Accessed: 02/12/2013 18:40
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L. WeAner Waltar

of OboeReeds of FourProfiles The EXects on Intonation

wind instruments, MOST OTHER UNLIKE which have some sort of permanentmouthpiece or embouchureplate, of the oboe must be constructedof a material the whole "mouthpiece" that is not of a permanentnature. The oboist attemptsto make a reed that will satisfyhis personalrequirementsbut, becauseof the destructibility of the oboe reed cane, it is important to be able to dupaicate each reed as closely as possible. In the past, oboistshave used a numberof methodsfor making reeds. Before the introductionof the brass staple, upon which the reeds are now tied, oboistswould use a piece of cane 55/8inches long. This would be bent double, wrappedin silk around its bottom half, and inserted in the opening at the top of the instrument. This methoddid not allow for very constant or precisereed making. The shrinkingthat occurred when the cane dried would cause the reed to respond differentlyeach time it was used. However, with the developmentof the brass tube, more effective proceduresbecame possible. Although oboists prepare reeds in a similar manner by using cane mounted on a brasstube, they differ in the scrape,or profile, that provides the reed with a thin vibratingarea. The profile is that part of the cane from the tip downwards,that has been scrapedand thinned with the reed knife after tying the cane on the staple. There are many differenttypes of scrapesto suit differentembouchuresand methods of playing, and the scrape must also vary according to the type, gouge, and shape of the cane being used. Bhosys (3) states that:
Accordingto the type of schoolingone adheredto, one fell into either the Germanor French school. The French school has improvedon the German type reed. The principle [sic] differencebetween the two lies in the scrape, as well as in the fact that the Germanschool uses wire around their reeds to keep them open [similarto the English horn reed]. The Germanreed has a rather long scrape. Their tone is more blatant and less refined than the French, who use the short, v-lay scrape, which allows for greater flexibility ankIvariationsin tone color. 242

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EFFECTS OF OBOE REED PROFILES

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In addition to the two mentioned processes,a review of the literature reveals a few other styles. Moore (6) suggests a more rounded scrape that is not as long as the German style. The style he recommendsis "reallya sort of compromisebetween the two styles." He states that this style of reed will blow easily, and will be easy to control and to keep in tune. Sprenkle (ll) considers the tuning provided through the oboe reed to be of major importance. Podnos (8) considersthe "humoring" that must take place when attempting to play an oboe in tune as a sacrificeof sbettertone quality. Rothwell (9) suggests the following procedure for testing the new reed for intonation accuracy:
Play octaves all over the instrumentand test their intonation; the G, A, and C (g', a', and c'') are good notes for this. The middle E (e'') and middle G (g'') will feel particularly"tight"if the reed needs more scraping. The lower G (g') will flatten during a diminuendo if there is too little resistancein the middle of the reed behind the tip.

Since many scrapes are mentioned as being potentially good in the production of correct intonation, are some better than others for the school musician? The oboists in the public school musical organizations vary in age, amount of instruction, and degree of muscular control. But regardlessof these factors, the oboe's timbre is such that it can be heard at all times when played in ensembles, and it therefore must be played in tune. The music educator is usually familiar with the process of fixing the oboe reed to make it respond more or less easily, but can he alter the scrapeof the reed to make an improvementin intonation accuracy? Since the student oboists he is developing vary in embouchurestrength, it is possible that each student may need a slightlv different oboe reed profile to play in tune. T-he number of possible oboe profiles is unlimited because of the nature of the reed-makingprocess. However Figure 1 shows the four most common profiles currently used by various manufacturers of commercial reeds. This study will attempt to determine what effects these four profiles have on intonation in relation to equitempered tuning. FOUR OBOE REED PROFILES

2
Figure

T
I

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Four oboe reeds were made, and four staples were selected, each having the following measurements: tube length, 113/l6 inches; tube diameter, 3%16inch at base and 1/8 inch at top. The cane was slipped over the end of each tube a distanceof 1/ inch. The cane was tied on to the tube with nylon string. Each reed was scraped in a different manner following the profiles illustrated in Figure 1, and each was identical in its overall length of 213/l6 inches. A standardconservatory system oboe was used in combinationwith the four oboe reeds. Four oboe students,aged 16 to 19, playedeach note of a twonctave chromatic scale (c' to c"') and the deviations from equitempered tuning were indicated on a Stroboccynn (C. G. Conn, Ltd., Elkhart, Indiana). The students were instructed to face away from the Stroboconnwhile playing. In this way they would not be temptedto humor the intonation if they noticed any indicationof pitch deviation. Each student was allowed to practice a few minutes on each reed before the test was made. The oboe reeds were insertedinto the oboe as far as they would go by the author. The same instrument was used throughout the experiment by all performers. When the testing procedure was completed, the deviations from equitempered tuning for each note in the study were totaled and averaged. Table 1 shows the averagedeviationsfor each note indicated in cents. With the oboe reed inserted its full length into the oboe, the pitch deviationsin relation to equitemperedtuning were least when the oboe reed with proElenumber one was used. The greatestnumber of deviations with this reed were in the low register, and these caused the instrumentto be slightly flat. The highest single deviation with this reed was 5.75 cents. The pitch deviations for profile number two are larger,especiallyin the middle register. There is a greatertendencyfor sharpness with this reed than with profile numberone. Profile number three shows the greatest deviations in pitch in relation to equitemperedtuning. The instrumentshowed a tendency to be sharp throughout its two-octaverange. Although a pattern is followed in which the pitch is lower at the area aroundc' to d', and again from a#" to c"', the entire two-octaverange shows a high degree of sharpness. Profile number four presentsa differentpicture. Although the pitch deviationsare not as great as those of reed number three, the tendency towardflatnessis unmistakable.Tlle entire range showspitch deviations that are flat except in the extreme upper register,which is only somewhat sharp. This is the opposite of the pitch productionof the other three profiles,which all showed a tendency to drop in pitch in the extreme high register.

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TABLE1 AVERAGE PITCH DEVIATIONS IN CENTS FORFOUR OBOEREEDS

Oboe ReedProf le Pitch c' c#' d' d#' e' f' f#' g' g#' a' a#' b' c" c#" d" d #" e" f" f#" g" g#" a" a#" b" c"' flat sharp ;N^umber 1 -5.00 -4.50 - 5.00 - 5.00 - 3.75 +3.00 +1.00 +1.75 +2.25 + 1.50 +1.25 +1.25 +1.75 +3.75 +0.25 +1.75 +5.75 +2.00 +4.50 +4.75 +4.00 +2.00 - 0.25 - 1.00 - 2.50 J%umber 2 -4.00 -4.25 - 3.00 - 4.50 +1.50 +4.00 +8.00 +5.75 +6.25 +8.50 +8.50 +5.50 +7.25 +4.25 +7.25 +3.25 +6.75 - 0.25 +10.00 +5.25 +8.75 +6.25 +5.75 +4.50 +1.75 J%umber 3 +10.50 +12.50 +13.00 +16.00 +18.00 +18.00 +16.25 +15.75 +17.25 +14.75 +14.50 +10.00 +14.50 +21.25 + 16.50 +17.25 +20.75 +20.00 +21.00 +16.75 +16.25 +14.50 +13.00 +12.50 +12.00 Number 4 -7.50 -8.75 - 7.50 - 7.50 - 2.75 -1.00 -3.50 -6.25 -2.25 - 3.75 - 7.00 - 9.00 -8.50 -12.00 - 8.25 - 11.75 - 5.75 - 4.75 -5.00 -5.25 -1.25 +1.75 +3.00 +5.50 +4.75

When the total pitch deviations are presented, a more understandable evaluation can be made of the function of each oboe reed proEle in regard to intonation. An examination of Table 2 shows that proEle one remained relatively stable through the entire range. Profiles two and three showed a great tendency for sharpness. However, this tendency toward a higher pitch level is greater with number three than number two. Profilenumber four showed a great tendencytoward flatness,more so than any of the other reeds tested in this study. TABLE 2 TOTAL PITCH DEVIATIONS INCENTS
Xumber 1 Total flat cents Total sharp cents -27 . 00 +42.50 Xumber 2 -16 .00 +119.00 Xumber 3 -O .00 +393.75 Xllmber 4 -129 . 25 +15.00

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ANDRECOMMENDATIONS CONCLUSIONS approximately which had a scrapeofdeviation from one, number profile reed Oboe reed, showed the least from the tip of the profile,with the reed inserted its full inch 1/8 tuning. This reed well by all four oboists used in this equitempered very could be playedin tune lengths indenstudy. 1/8inch plus a further somewhichhad a scrapeof pitch two, the number raised Profile side of the reed tips three, which had of 1/8inch on each number tation Profile one. number the greatest deviation more than profile what g inch, showed sharp throughout v-lay of approximately small a This reed profile was which had a long tuning. equitempered from number four, range tested. Oboe reed to be Rat throughout mt of two-octave the inch, proved of approximatelyI/2 even though the brass staples and reed v-lay study rangetested. Therefore,various reed profiles used in the the the way. were identical, lengths each in a different accuracy, number of intonation affected music educatorin a the by used when be informationcan This should be considered recommendations The following with student oboists: ways. intonation accuracy improve to embouchure, attempting has a fairly well developed of the stable who student the because 1. For one should be considered reed profilenumber this reed should be inserted its full length. oboe level. However, embouchure, intonation a slightly underdevelopednumber two has who student profile 2. With a slightly flat, oboe reedon a reed that is ina tendency to play used with is this profile sharp. This be considered. When should level is somewhat intonation the embouchure. its full length, serted device for the weaker compensating a this would as serve would weak embouchure,and very a has three who 3. For the student oboe student, oboe reed profile number is inthat the beginning used on a reed include When this profile is Therefore, considered. be should high intonation level. enable the extremely an has it to full length, embouchure serted much pressureof the itwould not require well developed to play in tune. student extremely tight or an llas who to play 4. For the student cause for the student considered. is likely to be the be which embouchure, number four should full length, it sharp, oboe reed profile is inserted its somewhat used on a reed that increased pressureexerted is profile this When level. Therefore, the has a low intonation compensatefor this tendency. may reed by the embouchure with the various oboe to experiment should students The music educator the types that enable each of his on the intonaprofilesin order to find obviouslyhave an effect profiles Different play in tune. to equitemperedtuning. tion level as related
Carolina at Greensboro Universityof North

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EFFECTS OF OBOE REED PROFILES SELECrED REFERENCES

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1. Anthony Baines, Woodwind Instruments and Their History (London: Faber and Faber, Ltd., 1957). 2. Phillip Bate, The Oboe (New York: PhilosophicalLibrary, 1956). 3. Waldemar Bhosys, "Oboe Reed Standardization,"Woodwind Magazine, Vol. II, No. 5 (Januaryl950), 5. 4. Harold Gomberg, "On Oboe Cane," Woodwind World, Vol. XI, No. 1 (February1958). 5. R. Mayer and R. Rohner, Oboe Reeds, How to Make and Adjust Them (Evanston,Ill.: The Instrumentalist,1953). 6. E. C. Moore, The Oboe Book (Kenosha, Wis.: G. Leblanc Corporation, 1954), p. 15. 7. Harold Palmer, Teaching Techniques of the Woodwinds (New York: Belwin, Inc., 1952). 8. Theodore Podnos, "Woodwind Intonation," Woodwind Magazine, Vol. II, No. 4 (December 1949), 5. 9. Evelyn Rothwell, Oboe Technique (New York: Oxford University Press, 1953), p. 55. 10. Harry Schulman,"Guide to a Flexible Oboe," WoodwindMagazine,Vol. II, No. 10 (June-July1950). 11. Robert Sprenkle, "Do You Play in Tune?" Woodwind World, Vol. XI, No. 3 (April l958), 9. 12. Ben Storch, "Explodingthe Oboe Myth," WoodwindMagazine,Vol. III, No. 1 (September1950). 13. Whitney Tustin, "An Oboe Reed a Day," Woodwind Magazine, Vol. III, No. 7 (March 1951). 14. Sylvan Donald Ward, The InstrumentalDirector'sHandbook (Chicago: Rubank, Inc., 1940).

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